六朝游文化视野中的山水诗研究

【作者】 郭本厚；

【导师】 曹旭；

【作者基本信息】 上海师范大学 ， 中国古代文学， 2010， 博士

【摘要】 六朝是中国山水诗的形成与发展时期,这其中先后出现了谢灵运、谢朓、鲍照等著名的山水诗人,留存了一批脍炙人口的山水诗作,也受到了学术界广泛的关注与充分的研究。本论题着力于游文化背景下的六朝山水诗研究,试图从一个全新视角契入,揭示士人行旅、游览、游心物外的游文化与山水诗之间千丝万缕的关系,以期开拓山水诗研究新的领域。论文绪论部分从学角度界定山水诗,认为山水诗就是描写山水的诗,必须有游览这个真实的行为发生,是诗人真实地走进山水中去,通过游览和欣赏山水,从而产生一种对山水之美的心理感悟和审美意识,而这种感情是真实的、是唯美的,是真正实现了诗人内心世界和外部世界完美的结合。第一章考镜源流,从《诗经》、《楚辞》、汉赋中探索山水诗的远源,从游览诗、行旅诗中发掘山水诗的近源。山水诗的生成与六朝自然物感说有着直接的关系,正所谓“挥毫当得江山助”,玄学只是对山水诗生成起到一定的推动作用,并非内在原因。第二章从宏观角度阐释六朝山水诗的生成背景。社会政治结构与经济结构、动荡背景下的士人心态、儒释道玄的时代精神、受众群体的接受兴趣都与六朝山水诗的生成发展有着或疏或近的关系。第三章论述六朝游的自觉与山水诗的直接关系。先秦以往各种类型的游文化与行旅实践紧密联系,游文化的嬗变推动士人心态的变化,成为山水诗发展的内在推动机制。第四章从语音、语词、语义、句法、章法等方面具体分析六朝山水诗的艺术结构,属文本细读的研究,以点带面,展示六朝山水诗的美学特色。第五章为谢灵运、谢朓山水诗的比较研究,属个案研究,同时由个案辐射到六朝山水诗发展的两个重要阶段,为了避免重复,兹不赘述六朝山水诗史,重点解决二谢山水诗研究中的薄弱点。第六章相当于余论,简要揭示六朝山水诗的诗学地位与六朝山水诗研究的诗学意义。更多还原

【Abstract】 Six Dynasties was the formative years of Chinese Landscape Poems. it is also when poets as Xie Lingyun. Xie Tiao appeared. They have created a lot of landscape poems which have attracted closely attention and study of academic concern.This thesis focused on the research of Landscape Poems under the background of the culture of "tour" in Six Dynasties。trying to reveal the relationship between Landscape Poems and the culture of "tour" from a new angle so as to opening up a new area of Landscape Poems researching.The introduction part defines landscape poetry in terms of tourism and believes that landscape poetry precisely describing landscapes and are only created after poets truly went sight-seeing somewhere and eventually felt the beauty of nature both physically and mentally. It describe landscape poetry as a perfect combination of the internal world of poets and the inner world.Chapter I looks into the past. exploring the origin of Landscape oetry from "The Book of Poetry", "The Odes of Chu" and Han Fu. trying to analysis the relationship between poems which described Chinese Buddhist philosophy (also called Xuan Yan Poetry) and Landscape Poetry. While as a matter of fact. the study of Chinese Buddhist philosophy and all related poems (Xuan Yan Poetry) can only be defined as a motivation that eventually led to the formation of Landscape Poetry instead of a true internal cause. Chapter II elaborates the background of the generation of Landscape oetry from a macroscopical angle. Socio-political and economic structure; scholars’ attitudes towards the unstable era; the belief of Confucianism. Buddhism and Taoism as well as the public interest were more or less. related to the formation and development of Landscape Poetry.In Chapter 3。the author discusses the direct relation between the“Tourism”culture and landscape poems of the Six Dynasties. Before the Qin Dynasty. various types of "Tourism" culture were closely associated with traveling. The transmutation of“Tourism”culture promoted the changes of scholars’ mindsets. which became the inner motivation to the development of scenic poetry.In the Chapter 4. the author analysis the artistic structure of scenic poetry from voice. semantics. syntax and organization. It demonstrates the aesthetic features of scenic poetry through close-reading study.Chapter V is the comparative study of Xie Lingyun’s and Xie Tiao’s scenic poetry. It is a case study. which can be extended to the two important stages of the development of the Six Dynasties’ poetry. To avoid needless duplication. we may as well focus on solving the weak points of the two Mr. Xie’s scenic poetry.Chapter VI is additional theory. briefly expressed the poetics status and significance of landscape poems of the Six Dynasties.更多还原